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Discussion Guide Table of Contents BEHIND THE SCENES OF THE NATION’S LONGEST RUNNING LGBTQ YOUTH THEATER THE YEAR WE THOUGHT ABOUT LDISCUSSIONOV GUIDEE 1 The Year We Thought About Love Discussion Guide TABLE OF CONTENTS 4 GOALS FOR THE FILM 12SEXUAL 21 ORIENTATION & FAMILY SUPPORT 5 GENDER ABOUT THE FILM 6 TRUE COLORS TROUPE 7 HOW THIS GUIDE WORKS PREPARIN8G FOR YOUR ROLE AS FACILITATOR 2 25 28 INTERSE31CTIONALITY: 39 ScHOOL BASED RELIGION & LGBT UNDERSTANDING SUPPORT YOUTH MULTIPLE HANDOUTS ASPECTS OF IDENTITY 61 AcKNOWLEDGEMENTS 3 Goals for the For all viewers ,the film will: Share stories of LGBTQ youth, primarily Film of color, in their own voices. Demonstrate the power of theater in finding one’s voice, and in claiming and sharing one’s own story. For LGBTQ youth, the film will: Reduce isolation by hearing stories from LGBTQ youth who advocate for themselves. Encourage the seeking of support from other youth and adults. Model work of LGBTQ artists and activists. For friends, family, teachers, and the communities that serve LGBTQ youth, the film will: Increase empathy and understanding for LGBTQ youth. Empower viewers to provide support to LGBTQ youth. Acknowledge the power and wisdom of LGBTQ youth to advocate for themselves. 4 ABOUT THE FILM he Year We Thought About Love is a 68-minute documentary film, which goes behind the scenes of one of the oldest queer youth theater troupes in America, as its members write a play about love. What happens when a diverse group of LGBTQ* youth dares to be “out” on stage to reveal Ttheir lives and their loves? Boston-based True Colors: OUT Youth Theater transforms daily struggles into performance for so- cial change. With wit, candor, and attitude, the cast of characters captivates audiences surprised to hear such stories in school settings. When Boston Marathon bombs explode outside their building, the troupe becomes even more determined to share their stories of love to help heal their city. * lesbian, gay, bisexual, transgender, queer, and questioning 5 TROUPE MEMBERS FEATURED IN FILM Alyssa, 18, begins Ayden, 17, searches Because Chi, 22, Giftson, 19, can make the film as Dellandre throughout the film for believes his personal anyone laugh and longs and soon claims her a comfortable gender relationship with God for a life in professional transgender identity, expression--having helps him to survive, theater, but a personal transitioning as the film modeled dresses he is deeply troubled tragedy and money progresses. A complex on the runway, she by his Southern Baptist worries force him to relationship with her ultimately identifies church’s strict condem- focus on a different life mother comes to a with a combination of nation of homosexual- path. head, both on and off masculine and feminine ity. stage. styles. She shares her process of dealing with sexism and racism. Kriss, 21, is frank and Although Roxas, 17, Trae, 15, has confidence Nick, 34, is an experi- honest--both in de- faces physical danger and energy to spare, enced youth theater di- scribing themself as in his neighborhood but her bad luck with rector, but the stress of genderqueer and open partly due to his vis- love has closed her unexpected challenges to all pronouns, and in ibility as a gay man, his off to anyone new. An and his upcoming wed- looking forward to a mother supports him active member of her ding are affecting him. carefully planned first and provides a safe school’s Gay-Straight He allows himself to be date. home environment. Alliance, she surprises vulnerable by shar- her classmates with an ing his struggles and onstage kiss during a dreams with the troupe. performance. 6 HOW TO USE THIS GUIDE The guide provides multiple interactive activities to generate This discussion guide is for dialogue by specific topics. These young people, friends and topics include: families of LGBTQ youth, and the adults who serve Sexual Orientation and LGBTQ youth in educational, healthcare, religious, and Gender community-based settings. The guide is designed Family Support to support three distinct discussion formats. School-Based Support Format A Format B Religion and LGBTQ Youth You invite audience You host a panel members to stay discussion after after a screening for a screening. We a short discussion. provide some Intersectionality: We provide a planning tips for sample 30-minute designing a panel Understanding Multiple agenda for this on p. Y of this guide. Aspects of Identity format on p. X of this guide. Theater and Youth Format C Development Work After a screening, you invite back interested viewers for a longer discussion as a way to examine more deeply the issues raised by the film. Most of this guide consists of sample activities and ways to design an agenda for a 1 ½ hour workshop, beginning on p. Q. 7 An essential part of planning is assessing your own experience, knowledge, and comfort level in leading activities that involve Preparing concepts related to issues in the film. How comfortable are you in discussing issues of gender identity, sexual orientation, race, for your gender expression, and other issues that relate to the identities of characters in the film? You might need to do some homework. role as One piece of prep work might be to review transgender and queer terminology. Check out the glossary at: http://www.theyearwethoughtaboutlove. facilitator com/resources/#Terms Resources for Helpful Links http://www.umass.edu/ Allies: stonewall/uploads/ Another piece of prep work might be to watch the film with an eye to how people listWidget/12992/How to Be an Ally to LGBT use certain terms to describe themselves, and become familiar with how they People.pdf are used. http://community. Still another might be to review how the development of the idea of pflag.org/document. Intersectionality has evolved and how it can help describe the effects of race, doc?id=139 gender, and sexual orientation on young people like those in our film. You can start with reading the introductory section in our guide on intersectionality on p. 32. You could review the exercise on p. 36, regarding how to respond to bias and microaggressions in film discussion. Another possibility might be to invite a co-leader with expertise in areas where you have less familiarity. Your job also includes assessing your workshop audience’s experience, knowledge, and comfort level around these same issues. For instance, a group of LGBTQ youth who meet regularly will naturally have considerable experience discussing gender and sexual orientation. Nevertheless, we feel that every group can benefit from thoughtful discussion of any of the issues that the film presents. We encourage you to create a workshop atmosphere that supports all participants as active, engaged learners whose lived experiences shape how they react to the film and to the discussions you lead. 8 Your Role as Facilitator As the facilitator of any of the formats for discussion, you will need to plan for your event 3. Remember the importance of safe and design an agenda. Here are the steps: spaces and establishing ground rules, especially for a long format workshop. 1. Set goals and choose activities (from this guide or elsewhere) to meet them. For an example see: https://www.cmu. edu/teaching/solveproblem/strat- dontparticipate/groundrules.pdf Sample goals you might choose: • Participants will increase their 4. Do you lack direct experience with understanding of LGBTQ youth challenges LGBTQ youth? If so, consider inviting a and opportunities. co-facilitator from a local agency as a • Participants will commit to volunteer, resource. donate, or share information about local LGBTQ youth resources. 5. Compile or borrow a list of local • Participants will recognize and keep in LGBTQ youth resources (Refer to mind that there is a larger context of social national list in resources section of the issues in the U.S. of which queer issues film’s website for ideas). are an important part. 2. Set an agenda for your discussion or workshop with times allotted for activities. See pages 10-11 for varying format descriptions 3. Develop outreach to recruit attendees. 4. Target your choices of activities to the audiences you expect (youth, family and friends, LGBTQ youth providers, general public). 5. Tell the filmmakers how it went using the following survey monkey link: https://www. surveymonkey.com/r/DZ99PTM Preparing for your training: 1. Make a list of what you need to set up room, gather materials. 2. If your screening is not in a movie theater, make sure in advance that the equipment works with your copy of the film. 9 FORMAT A FORMAT B 30-minute post-screeing discussion 30-minute post-screening panel discussion Sample agenda for ½ hour discussion when no cast The panel could be drawn from the following: members are present young LGBTQ people (at least two), a parent, an educator, a youth worker, or a service provider (eg. health, mental health, social work). After the film, facilitator distributes large index cards and markers to each participant and invites everyone to: If you have the chance to invite members of the • Write down a question or comment about the film’s cast to your panel, the audience will readily film you would like to be discussed/addressed generate questions for them. You can contact us by the group. (3 min.) through the website if you wish to request the participation of cast members. • Turn to the person next to you and in pairs, share one thing that stood out for you in the film. (3 min.) Sample agenda for ½ hour panel discussion • During pair work, facilitator collects cards and chooses some to discuss. Encourage the Facilitator introduces panel members, or each group (not yourself) to explore answers and panel member introduces themselves saying either comments.
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